During the National Day holiday, this newspaper published a series of reports on "Five Years of Literature and Art", which comprehensively reviewed the development of literature and art in China in the past five years. In this golden autumn season, it is sweet and long-term to taste the fruits of literature and art.
Looking back on 2013, TV stations were completely occupied by parenting dramas led by hot moms and hot dads such as Little Dad and The Story of Hot Mom. Behind this trend is the official replacement of TV viewers: the remote control in the hands of aunts and grandmothers completely gave way to the post-80 s and post-90 s who entered the baby boom. By 2017, the audience deeply influenced by the network will become the main audience of a new generation of TV dramas. Their aesthetics, likes and dislikes, watching habits and so on have profoundly changed the appearance of Chinese opera — — Sun Li’s new work, which is being broadcasted, has changed the title of the play from the original heavy "Da Qin Yi Shang" to the present "When Flowers Bloom and the Moon Are Full" in order to pursue a sense of network.
In the past five years, the most earth-shaking changes in the TV drama market can not be separated from a big word "net": the integration of broadcasting platforms, the network platform coming from behind in the competition for top resources, the IP of the theme network first, the sudden emergence of online dramas, the pursuit of "net sense" in aesthetic taste, and the capital of video websites making waves. In short, the Internet has become the most lively main battlefield and "big money owner" of China TV series. The drastic changes in the ecological environment have made the TV drama industry, which is carrying heavy burdens, add "new hates" such as sky-high pay, satellite broadcasting, cutout production and normalization of body double … … However, it is gratifying that the theme of realism is still strong after being washed away by the tide. Taking care of the present and focusing on the content is the people’s just need and the trump card of the market, and finally ushered in the "big year" of creation in 2017 after the ebb and flow.
The content is that Wang Yue has become a consensus.
In 2017, the TV series that have been broadcast on TV stations and ranked in the top position so far are as follows: to the sky kingdom, in the name of people, My First Half Life, Biography of Chu Qiao, Full Moon in that Year, Ode to Joy 2, Alliance of Military Strategists, White Deer Plain, Justices Seeker, Biography of New Condor Heroes and so on. Although the overall national drama is getting more and more expensive, the film pay is getting higher and higher, and the quality improvement is not directly proportional to it, if we put aside the huge base and compare it horizontally only from these ten or so "head" works, 2017 should belong to the "big year" of TV drama creation, regardless of the production level, the richness of theme or the degree of artistic completion.
First of all, the ups and downs and disputes about IP dramas in the market have never stopped in recent years. After several rounds of reshuffle, such as blind speculation, crazy follow-up, survival of the fittest and so on, the attitude towards IP finally returned to rationality this year. The creative attitudes of "Sansheng Sanshi" and "Chuqiao Biography" obviously take the initiative to correct the past lessons of IP dramas — — Respect the law of traditional TV drama creation and use IP reasonably. These two dramas have created new and best achievements in the two main battlefields of daily and weekly dramas respectively, and the market income is considerable. What is valuable is that word-of-mouth has also successfully counterattacked, which has reversed the long-standing "prejudice" of public opinion on IP dramas and won many mainstream audiences who are not "fans". The boundary between traditional TV audience and "fan" audience is no longer clear.
Secondly, this year has completely put an end to the trend of Empresses in the Palace and other big costume leading the mainstream market. Realistic works such as in the name of people, Ode to Joy 2, White Deer Plain, Justices Seeker and My First Half Life have the upper hand in the "explosion" echelon, regardless of quantity or quality. This also reflects that the core behind-the-scenes TV drama production team, after several years of impact, confusion and groping, has clarified its thinking, gained a firm foothold and strengthened the foundation of its creation in an invincible position. Looking at the rational return of the above-mentioned IP dramas and the counterattack of realism, it is not difficult to find that the integration and mutual reference of the two is the way out for both of them to adapt to the market.
Online dramas and traditional TV dramas are more and more similar.
Compared with five years ago, another drastic change in the TV drama market is the significant improvement in the content quality of online dramas, which has gradually bid farewell to shoddy production. Before and after 2013, the production cost of single episode of online drama was about 100,000 yuan on average. Now, the cost of single episode of 5 million+is not uncommon, and it must be said that "the production level is on par with top TV dramas and American dramas". In 2013, watching online dramas for a fee was just a "dream" for many people. Nowadays, a large number of super-customized dramas with narrow themes and the purpose of developing members emerge one after another. This summer, the two major video websites launched "Chasing the Murder in a White Night" and "Crime without a License" respectively, and both of them made a lot of money. The rise of online drama has also attracted many excellent directors, actors and production teams to join in the production of online drama. Xiaogang Feng, Hou Hongliang, Kong Sheng, Guan Hu, Zhang Li and other industry leaders are deeply involved in online drama production.
The amazing performance of go princess go in 2016 is not unique this year. Self-made online dramas such as Chasing the Murder in a White Night, Spring Breeze is not as good as you, Crime without a license, Forensic Medicine Qin Ming and Ghost Blowing the Lamp are in full bloom. It is a popular practice to accurately locate specific groups and segment narrow themes in the market. "Suspense+"and "Youth+"are the two most popular categories, especially the former, which has a strong plot and a fast pace, burns the brain and reverses the audience’s excitement and hunger, which is very in line with the aesthetic needs of young online audiences.
Network platforms and TV stations are increasingly integrated.
Another major trend that cannot be ignored is that the cooperation between network platforms and TV stations is becoming more and more frequent, and the degree of integration is getting higher and higher. The standards of online drama and TV drama are becoming more and more unified. In the form of broadcasting, the linkage between network and station is becoming more and more frequent.
What is the benchmark in this field is the dramatic changes in the weekly drama market. In 2015, the great success of "Hua Qiangu" in the summer file injected a booster into the weekly broadcast of Chinese drama. However, after only two years, Hua Qiangu seems like a lifetime ago to practitioners. This is because, on the one hand, the competition is more fierce, and it is normal for several weekly dramas to be updated simultaneously; On the other hand, the impact of network integration and other fragmented information has greatly dispelled market attention; The modes of first network, first network background, half network, half network, etc. emerge one after another, reflecting the tilt of the balance of supply and demand at any time.
Take "Cloud of the Han Dynasty in Xuanyuan Sword" as an example. Since it was broadcast simultaneously in Shanghai Oriental TV Weekly Theater and iQiyi on August 8, it has attracted great attention from both inside and outside the industry because of the "half-network" broadcast mode. The so-called "half a network" means that the drama has been broadcast on TV for a certain number of episodes, and the remaining episodes are only broadcast on the network platform, and only paying members can watch it. In the eyes of the industry, from the previous background of the first network, the first network, and the half network to the half network today, it shows that the right to speak on the network platform is constantly increasing, and it also shows the confidence of all parties in the quality of plays and the increasing number of high-quality film and television dramas. Text/reporter Yang Wenjie